Why put ‘class’ in the creative class?
| dc.contributor.author | Mo, Aaron | |
| dc.date.accessioned | 2016-11-21T13:25:15Z | |
| dc.date.available | 2016-11-21T13:25:15Z | |
| dc.date.issued | 2012 | |
| dc.description.abstract | This paper pinpoints the problematic use of grouping creative people as a social class. Observations of the ‘creative clusters’ in Lower East Side (New York) and Islington Mill (Manchester) are used to illustrate this point. Instead, creative actors should be seen as a unique blend of work practices, and have different philosophical and aesthetic appreciation of art, which in turn influences their spatial and geographical consumption patterns inside a building and/or city. This observation questions the use of ‘class’ in Richard Florida’s (2002) The rise of the Creative Class, and consequently asks if place-making practitioners should adopt one-size-fits-all creative policies. | pl_PL |
| dc.identifier.citation | Quaestiones Geographicae vol. 31 (4), 2012, pp. 9-17. | pl_PL |
| dc.identifier.isbn | 978-83-62662-62-3 | |
| dc.identifier.issn | 0137- 477X | |
| dc.identifier.uri | http://hdl.handle.net/10593/15665 | |
| dc.language.iso | eng | pl_PL |
| dc.publisher | Wydział Nauk Geograficznych i Geologicznych Uniwersytetu im. Adama Mickiewicza | pl_PL |
| dc.rights | info:eu-repo/semantics/openAccess | pl_PL |
| dc.subject | class | pl_PL |
| dc.subject | creatives | pl_PL |
| dc.subject | practice | pl_PL |
| dc.subject | cognition | pl_PL |
| dc.subject | consumption | pl_PL |
| dc.title | Why put ‘class’ in the creative class? | pl_PL |
| dc.type | Artykuł | pl_PL |